Chapter 8: Paper relief into fabric relief

For this chapter we were asked to refer to the paper relief surfaces made for Chapter 3 and to translate five of these into different manipulated fabric techniques.

 Fig. 8:1

Tight rolls of linen fabric stitched in an irregular pattern to translate the peeling bark on this tree and the curled paper of the originals.

Fig. 8:2

Pin tucks were stitched at different angles on a polyester cotton fabric. What doesn't show up on the photograph is the irregular raised weave of the fabric which was the reason I chose this particular fabric as it mimicked the tracery of the bare tree branches and the smaller creases in the crumpled tissue paper.

Fig. 8:3

A somewhat more effective - and more literal - translation of the tree branches, this time worked on a fine organza. Channels were stitched on the machine and then threaded through with several thicknesses of a brown woollen yarn.

Fig. 8:4

 Irregularly shaped pieces of thick woollen felt were trapped beneath a piece of thin silk fabric and each piece was closely edged with backstitch to form raised patches.

Fig. 8:5

I formed irregularly shaped 'scales' from a variety of fabrics - thin cotton, silk dupion and cotton poplin. These were then overlapped and stitched in place to imitate the scales on this tree bark. 

Fig. 8:6

Layers of calico strips were stitched down very closely together so they stand up and the edges of the fabric were then lightly frayed to imitate the tree bark and torn strips of paper.

Fig. 8:7

Deep tucks stitched with several rows of machine stitch were then cut across to form notches to echo the papery scales of this tree bark.

 Fig. 8:8

 Lengths of a very chunky brown wool yarn were trapped beneath fine silk and stitched into a pattern which echoes the knots and pattern on this tree, and the deep creases of the paper.

Fig. 8:9

My favourite furrowing again, using a cotton curtain lining fabric which imitates perfectly the deeply grooved bark of this tree.

Samples 8:3; 8:4; 8:8 and 8:9 are particularly successful at imitating both the original photographs of tree bark and the paper interpretations, I think. 8:2 would definitely have been improved with more work - probably with added stitches on top of the tucks and with hindsight, of course, I should have made more scales for sample 8:5 to completely fill the space available.